"At ev'ning from the top of Fésole."
129. Now observe the progress of the feeling for light and shade in the three examples.
The first is nearly all white paper; you think of the outline as the constructive element throughout.
The second is a vigorous piece of white and black—not of light and shade,—for all the high lights are equally white, whether of flesh, or leaves, or goat's hair.
The third is complete in chiaroscuro, as far as engraving can be.
Now the dignity and virtue of the plates is in the exactly inverse ratio of their fullness in chiaroscuro.
Bandini's is excellent work, and of the very highest school. Dürer's entirely accomplished work, but of an inferior school. And Beaugrand's, excellent work, but of a vulgar and non-classical school.
And these relations of the schools are to be determined by the quality in the lines; we shall find that in proportion as the light and shade is neglected, the lines are studied; that those of Bandini are perfect; of Dürer perfect, only with a lower perfection; but of Beaugrand, entirely faultful.
130. I have just explained to you that in modern engraving the lines are cut in clean furrow, widened, it may be, by successive cuts; but, whether it be fine or thick, retaining always, when printed, the aspect of a continuous line drawn with the pen, and entirely black throughout its whole course.
Now we may increase the delicacy of this line to any extent by simply printing it in gray color instead of black. I obtained some very beautiful results of this kind in the later volumes of 'Modern Painters,' with Mr. Armytage's help, by using subdued purple tints; but, in any case, the line thus engraved must be monotonous in its character, and cannot be expressive of the finest qualities of form.